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A Classical Music Program Used in the Bonny Method of Guided Imagery and Music (BMGIM)

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A Classical Music Program Used in the Bonny Method of Guided Imagery and Music (BMGIM) A Collaborative Heuristic Analysis of Imagery-M: A Classical Music Program Used in The Bonny Method of Guided Imagery and Music (BMGIM) Kenneth Bruscia Elaine Abbott Nadine Cadesky Dena Condron Andrea McGraw Hunt Dawn Miller Laura Thomae BMGIM is a form of psychotherapy, developed by Helen Bonny (1978a), in which the client images to specially designed classical music programs in an altered (relaxed) state of consciousness, while dialoguing with the therapist. In the method, music is given a central role: it shapes the client’s inner experiences from moment to moment during the session, and it serves as a primary motivator and agent of the client’s transformation and healing. For this reason, the content, design, and shape of the music programs are of fundamental significance in BMGIM practice, research, and theory. Each music program consists of 3-8 pieces from the western classical tradition, which have been carefully selected and sequenced for their potential use in addressing various client issues and therapeutic needs. An entire program may last from 25 to 45 minutes. Nearly all of the programs have descriptive titles that suggest their emotional theme, therapeutic purpose, or potential use (e.g., Nurturing, Positive Affect, Grieving, Peak Experience ). Helen Bonny, the founder of BMGIM, created 18 different programs, and her proponents have created several more. For a detailed description of Bonny’s programs (1978b), see Grocke (2002); for information on programs by her proponents, see the Appendices of Bruscia and Grocke (2002). Since music plays such a significant role in BMGIM, a crucial responsibility for the therapist is selecting the appropriate program, that is, one that can meet and address the client’s issues and needs at each stage of the therapeutic process. Obviously, this requires every BMGIM therapist to have an aural knowledge of each piece of music, and an in-depth understanding of each program and its full range of potentials. For this reason, the analysis of music programs used in BMGIM has been of central interest in its application. Abrams (2002) surveyed the various ways that music programs in BMGIM have been analyzed, and identified three basic approaches. In the musical approach, the primary focus is on analyzing the musical elements and properties of each piece in the program, both separately and in relation to one another, along with the implications these have for the intended function of the program, or their potential effects on the imager’s experience. Notice that the analyzer gains insights directly from the music, without necessarily gathering data from imagers on their actual experiences of the program. Thus, in the musical approach, the analyzer’s perspective is primary. Examples of this approach include: Bonny (1978b), Skaggs (1994), and Summer (1995). In the phenomenological approach, the analysis focuses on how imagers experience the music program from moment to moment. In this approach, then, the imager’s lived experiences of the program are integrated with an analysis of the music. Examples include Kasayka (1991), Lem (1998), Grocke (1999), and Marr (1998-1999). In the heuristic approach, the analyzer studies his or her 2 Bruscia et al. own images to the program in addition to analyzing the music. Thus, the analyzer’s personal experiences of the music serve as the primary or foundational source of data. Examples of this approach include Bonny (1993) and Bruscia (1999). In Bruscia’s method, the researcher gathers data from him/herself, as well as from other participants. The purpose of the present study is to analyze the BMGIM program entitled, Imagery-M, using a new approach to analysis. The new approach combines Bruscia’s heuristic method (1999) with collaborative techniques. That is, instead of one person serving as researcher, gathering data from both self and other participants, the combined collaborative approach involves individuals, serving as both participants and co-researchers, gathering data from one another, and analyzing and interpreting their own data. The purpose of the analysis using a collaborative-heuristic approach is to understand how the music and the imagery generated by it are related to one another, from the perspectives of both self and other. Hopefully, such analysis will shed light on what properties of music are most significant when experienced in an altered state of consciousness, and what imagery potentials these properties might have. This information is crucial for BMGIM therapists to have when using the program with clients. Imagery-M (Bonny & Bruscia, 1996) is a modified version of Bonny’s original program (1978b), entitled “Imagery.” The “M” stands for modified. The original program contains the following pieces: Ravel’s Introduction and Allegro, Copland’s Appalachian Springs (excerpt), Tschaikovsky’s Fourth Symphony: Scherzo, Respighi’s The Dove, and Turina’s La Oración del Torero. The modified program contains the same three opening pieces, but instead of the Respighi and Turina, ends with Mendelssohn’s Fifth Symphony: Andante, and Suk’s Serenade in E-flat Major: Adagio. The modified version has not been analyzed previously. See Appendix A for further details on these programs, including performances. Writing about the original version, Bonny (1978b) says that the “ Imagery program, as its name suggests, encourages visual and other sensory responses in the creative imagination. It is useful in initial group sessions and with persons who need to stimulate visual ability. In therapy, it is non-threatening, open-ended, and useful for a general exploration of the inner personality. The compositions are taken from the impressionistic school; each selection tends to paint a picture or to represent a specific theme. This cassette program contains exclusively instrumental selections, to satisfy those who object to vocal music in the GIM experience” (p. 54). The modified version was intended to serve very similar purposes to those originally espoused by Bonny. Specifically, it was designed as a program for GIM beginners: to stimulate imagery, to move through different moods and emotions at a non-threatening pace, and to survey various aspects of the imager’s personality (Bonny & Bruscia, 1996). METHOD Design The design of the study combines principles of heuristic and collaborative methods of qualitative research. It is heuristic in that, similar to the method developed by Moustakas (1990), the roles of researcher and participant were combined, and data gathered from the self provided the main sources of data, which were then corroborated and enhanced by data from others. It also employed Bruscia’s (1999) “heuristic” method of analyzing BMGIM music programs, which will be described below. Collaborative Heuristic Analysis 3 The study is collaborative in that, instead of having one researcher study him or herself as the primary participant, along with other participants (who were not researchers), in the present study, all the participants were co-researchers studying one another. Collaborative research goes beyond heuristic research in three ways: First, the researcher and participants have equal roles and status as co- researchers, rather than being separated into hierarchical roles. Second, rather than involving only one researcher, collaborative self-study involves an entire group of researchers studying themselves, through both individual and group means. Third, the entire research process is created by the co-researchers through continuous dialogue—about the topic and purpose of the study, the method, the sampling, the organization and analysis of the data, interpretation, and presentation. (Bruscia, 2005. p. 388) See “Process” for specific details on the collaboration involved in the present study. Participant-Researchers The seven authors of the study served as both participants and researchers. Six of the participant- researchers (all females) were in training in BMGIM at an advanced level, and the seventh was their trainer (male). Henceforward the feminine (she or her) will be used to refer to the trainee co- researchers; the masculine (he or him) will be used to refer to the trainer co-researcher; and both feminine and masculine will be used to refer to people in general. All of the participant- researchers were professional music therapists with several years of clinical experience. They ranged in age from 29 to 60 years. Heuristic Method of Analysis Bruscia’s (1999) heuristic method is predicated on four principles. The first principle is that to understand any BMGIM program, one has to experience the music as the client experiences it (primarily in an altered state of consciousness), and as the therapist experiences it (primarily in an alert state of consciousness)—focusing on the music as well as focusing on the imagery generated by it. Thus, there are four conditions under which the analyzer must experience the music. Note that three of the conditions put the analyzer in the role of intense listener. The four conditions are: 1) In an alert state, focused on the music itself. This involves being in an analytic mode, sitting upright, listening carefully and openly to all details in the music several times. These listenings may be focused on the musical elements (e.g., rhythm, melody, timbre), the structure of the music, and any or all aspects of the music that are salient. While being focused, the listener must also be open to whatever the music presents from moment to moment. During one of the several listenings, the analyzer also studies the score in detail. This condition is done one piece of music at a time, and all pieces in the program in sequence. The analyzer either records or writes down what is being heard on each listening. As a result of listenings under this condition, the analyzer divides each piece into sections, based on the musical form of the piece. Each section is then linked to timings on the CD. Thus for example, a section may be from measures 1-24, and occurs on the CD from 0:00 to 1:34 minutes.
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